2019 finds the genre of modern synthpop as vibrant as ever, with an incredible diversity of sounds, styles and geography making up this year’s top 10 new albums.

Each year, as I assemble this list of the top modern synthpop albums of the year, I’m reminded that I have the world’s best side gig: Previewing, reviewing and sharing some of the most incredible music on the planet. I love to explore new music and to share the best of what I’ve found!

Once again, your suggestions on the Facebook page were instrumental in helping me round out this list. It resulted in several of these albums making the top 10 list, plus several more honorable mentions. Thank you!

I hope you enjoy my picks and encourage you to add your own in the comments below.

Iris – Six

After 5 years of total radio silence, Iris is back with a new album. Entitled Six, it is stylistically darker than their last outing, Radiant. It bears a greater resemblance to Blacklight in its tone and style. Six contains a well-crafted collection of 11 melodic tracks, each with its own unique hooks and stylistic touches, waiting to be discovered.

Favorite tracks: Joy Kill, Silent, Take the Pain

Daybehavior – Based on a True Story

I’ve always been a fan of Daybehavior’s elegant style of storytelling and well-crafted songs. Based on a True Story is their first new music in four years, and it was well worth the wait. It’s filled with a wide variety of music, from cinematic ballads to danceable numbers – and, of course, Paulinda Crescentini’s lovely vocals. Based on a True Story is an aural treat!

Favorite tracks: There’s Nothing Else, Serge’s Kiss, Burning Slowly

Quieter Than Spiders – Signs of Life

One of the real treats of writing a blog like Modern Synthpop is discovering remarkable artists that make me go, “Woah…!” (cue Keanu Reeves voice). Shanghai-based trio Quieter Than Spiders’ debut album, Signs of Life, is one of those pleasant surprises. This lush album contains a wonderful cross-section of styles, from up-tempo melodic pop numbers to slower, reflective and melancholy tracks. This is quite simply a stunning collection of music. I can’t wait to hear what’s next from Quieter Than Spiders!

Favorite tracks: Shanghai Metro, Komarov, Hibakusha

Howard Jones – Transform

After veering in a more experimental direction with his 2015 album, Engage, British synthpop great Howard Jones returns to his roots with Transform. It has all the elements of a classic Hojo album: dazzling synth sounds, paired with catchy melodies plus introspective, life-affirming lyrics. But he succeeds in wrapping it up in a polished, contemporary package that doesn’t feel derivative or dated. This multi-talented artist shows no signs of slowing down – and that’s a wonderful thing!

Favorite tracks: The One to Love You, Hero in Your Eyes

Us – First Contact

The debut album from this Swedish duo is filled with dramatic melodies and emotion-packed vocals. Song styles range from haunting ballads and songs that would feel at home on a dance floor with several more experimental compositions. Yet it also somehow fits together into a cohesive, delightful whole. Keyboard player, producer and director Leo Josefsson is best known for his work with Lowe. His lush synthetic hooks perfectly complement Andrew Montgomery’s emotional vocals, creating an atmospheric tapestry that is greater than the sum of its parts.

Favorite tracks: Voyager, Till the Dying of the Light

Ladytron – Ladytron

No one would ever accuse Ladytron of being upbeat. This self-titled album, their first since 2011, reflects the times in which we live – nihilistic, uncertain and, in many ways, fucked up. Yet it’s all packaged in a slick concoction of stabbing synths, guitars, percussion and the sweet vocals of Helen Marnie and Mira Aroyo. The blend is intoxicating and enjoyable. Ladytron has never sounded better!

Favorite tracks: The Island, Animals, Run

Minuit Machine – Infrarouge

Minuit Machine is one of those groups that has been on the scene since 2013, but I didn’t “discover” them until earlier this year. Actually, I had featured Hante., Hélène de Thoury‘s solo project, on my weekly Modern Synthpop playlist when someone pointed out that she is also one-half of Minuit Machine. This French duo combines icy symphonic synth arrangements and drum machine riffs with Amandine Stioui‘s world-weary vocals into a delectable style that is uniquely their own. Infrarouge, their third album, is a lush darkwave masterpiece that may require a few listens to get into, but the effort is well worth it. These two muses have created something really special here!

Favorite tracks: Forgive Me For My Sins, Prey/Hunter, Ballet

Elyxr – Eternal Life, Eternal Youth

Kasson Crooker is no stranger to the modern synthpop scene. As a founding member of Freezepop and with a sizable body of work as Symbion Project and Larkspur, he definitely knows his way around a studio. With Elyxr, he is collaborating with different singers and songwriters and is aiming for a sound that is brighter and more energetic than Symbion Project. On Eternal Life, Eternal Youth, his first full album under this moniker, he has crafted an energetic, polished collection of compositions that are bristling with punchy synths and bass lines, topped by pristine vocals.

Favorite tracks: Planes, Such Letting Go is Love, Engine

Mr.Kitty – Ephemeral

Releasing a double album is a big challenge for any artist. How can you fill a massive canvas of 30 songs without diluting or compromising the sound and style that fans have come to love you for? But Forrest LeMaire has managed to pull it off with a fantastic collection of songs that weave together a surprising range of influences and effects. Although best known for his emotional club songs, he has expanded his palette on Ephemeral to include a number futurepop tracks as well as slow, introspective ballads. The album is dedicated to a friend who took his life last year. This gives the tracks a haunting lyrical depth that really takes several listens to truly appreciate. This double album from Mr.Kitty is his best work to date!

Favorite tracks: Melting Core, My Weak Side, Empty Phases

Harmjoy – Iron Curtain, Velvet Glove

Harmjoy is a German/American duo: German artist Ølåf Å. Reimers (from the EBM band Tyske Ludder) and vocals/lyrics by Dan von Hoyel (from San Francisco and the voice of the Swedish synthpop band TITANS). On their new album, Iron Curtain, Velvet Glove, the dynamic duo straddles the line between synthpop and industrial music, combining thought-provoking lyrics with driving beats and delicious synth touches. Von Hoyel’s low vocal range gives each track a foreboding edge as he tells stories of love and loss. Memorable lyrics include these rich word pictures:

• “You’re burying the hatchet/In the ground or in my back?”
• “It’s as if you’re a marionette who escaped and now misses the strings”
• “Your fantasies have fallen into the sea/Your highest hopes now hang in an empty tree”

Favorite tracks: Only the Nightmares Survive, We Could Go On, Don’t Keep Me Waiting

Honorable mentions

These excellent albums are also worth a listen!

• Null Device – Line of Sight
• Rroyce- Patience
• The Sweeps – Nostalgia for the Future
• Mördelin – Preface
• Rue Oberkampf – Christophe-Philippe
• Parralox – Genesis

Listen now

For your listening convenience, I have created a Spotify playlist that includes a selection of songs from 9 of the 10 albums (Quiter Than Spiders doesn’t have a presence there but you can listen to snippets of their album here).

Check out the 2019 Modern Synthpop Albums of the Year Spotify playlist

The post The top 10 synthpop albums of 2019 appeared first on Modern Synthpop.

Thank you to everyone who participated in the voting for the top synthpop albums of the last decade. The artists and albums listed in this online survey received over 3,200 votes – an amazing number! Thanks for your enthusiastic participation in this project!

Here are the top 25 synthpop albums of the 2010s, as voted by you, the ultimate fans of this remarkable genre:

1. Mesh – Looking Skyward
2. Mesh – Automation Baby
3. VNV Nation – Automatic
4. Assemblage 23 – Bruise
5. Zynic – Blindsided
6. Covenant – Modern Ruin
7. Apoptygma Berzerk – Exit Popularity Contest
8. OMD – The Punishment of Luxury
9. Zynic – Neon Oblivion
10. Camouflage – Grayscale
11. Beborn Beton – A Worthy Compensation
12. OMD – History of Modern
13. DE/VISION – Popgefahr
14. Gary Numan – Savage
15. OMD – English Electric
16. Ladytron – Ladytron
17. Zynic – Fire Walk with Me
18. DE/VISION – 13
19. Iris – Six
20. Iris – Radiant
21. New Order – Music Complete
22. Pet Shop Boys – Electric
23. Chrom – Peak & Decay
24. Marsheaux – A Broken Frame
25. Solitary Experiments – Future Tense

Some of top entries are no surprise – names like Mesh, VNV Nation, Apop, Camouflage and OMD are naturally at the top of many fans’ playlists. But they also contained at least one big surprise: I would have never guessed that Zynic could field not one, but two albums within the top 10 list, with a third ranked at #17. It’s a tribute to the band’s passionate fan base!

I also wasn’t expecting Mesh to dominate the top two slots in the voting, by a significant margin. I know they’re BIG in this genre, and fully expected to see at least one of their albums IN the top 10 – but not holding down the top 2 positions!

This survey represents a snapshot of the world’s best modern synthpop. It can serve as a useful guide for anyone who is interested in exploring this fascinating and multi-faceted genre of music.

To see how the entire ranked list of all of the artists and albums and the number of votes they received, please download this PDF.

The post The top synthpop albums of the 2010s appeared first on Modern Synthpop.

From left: Vesa Rainne, Ville Brusi and Jarkko Tuohimaa

Neuroactive is one of the longest-enduring acts of the modern synthpop genre, with a number of lineup changes but an excellent body of work, steadily released between 1991 and 2014. They’re unquestionably one of my all-time favorites. But things have been quiet in Tampere, Finland during the last five years. Until recently.

Just a little back history on this remarkable band: Starting in 1991, the trio of Jarkko Tuohimaa, Ville Brusi, and Vesa Rainne published two acclaimed albums together, Morphology and Phonic Trace. The latter, published in 1997, featured the song Space Divider, which was played at the clubs all over the world. Soon after the release of Phonic Trace, Ville and Vesa left the band.

Neuroactive’s global footprint grew considerably in 1999 with the publication of Fiber Optic Rhythm, with Jarkko handing songwriting duties and new vocalist Kimmo Karjalainen adding his haunting, iconic sound to the mix. That was followed by Transients in 2001, the last album to feature Kimmo as the vocalist.

The next three albums, N-Gin, Antidote and Electra, featured a variety of guest vocalists. Electra was the band’s last release in 2014.

Jarkko recently published black-and-white pictures of the original Neuroactive lineup (with Ville and Vesa) and the second lineup (with Kimmo). Could this mean that Jarkko was reuniting the group? So, of course, I had to reach out to him for an update.

Chuck Frey: You recently published a picture of you with the other two original band members, implying that you have reunited to create new music. What are your plans?

Jarkko Tuohimaa: The next Neuroactive album, Minor Side-Effects is kind of looking back album. It’s all-new songs but with people whom I worked in the past. So we have songs with original line up (Vesa, Ville and me) and second line up (Kimmo and me), too.

Chuck: How did the three of you reconnect?

Jarkko: I’ve been in contact with Ville (one of the original members) all the time since we kind of broke up back in the day. He’s been one of my closest friends all these years. I’ve also done remixes and mastering for his and Vesa’s band, Flux Fin.

But the real push for working together came when I met accidentally Vesa in an art exhibition. I asked if he would like to sing one of the tracks from Morphology. I have thought about re-releasing Morphology as remastered and with remix or two. It’s now 25 years since Morphology, our first album! But that’s kind of on hold now until we get Minor Side-Effects out.

Jarkko Tuohimaa (left) and Kimmo Karjalainen

Chuck: How would you characterize the style of the music you’re making now?

Jarkko: I don’t think I have made any major leaps with the style in all these years. It’s been just a natural progression. It’s a bit rougher-edged synthpop.

Chuck: Based on a comment on your Facebook page, it sounds like the new album will be a return to the old Neuroactive sound. What new elements will you bring to it?

Jarkko: I’d say it’s maybe geared toward futurepop with this release, if you compare it with last release, Electra. There’s also a touch of cinematic in some songs…

Chuck: Was the approach of using guest vocalists on the last several albums as successful as you hoped it would be?

Jarkko: I didn’t really think it would be a successful thing for me. It was just because it was the only way to go forward for me. It wasn’t well thought out. I wanted to make music and I found someone to do it with me.

Chuck: What musical projects were you working on between 2014, when Electra was released?

Jarkko: I haven’t released anything since Electra as Neuroactive. I ’ve worked with some other artists during this time like Ne3oa, Flux Fin and Halo Effect. John from Halo Effect is also featured on Minor Side-Effects.

Chuck: What does your equipment lineup look like these days?

Jarkko: Unfortunately, I’m a terrible analog synth hoarder. I have spoiled my studio with too many synths. We live times when it’s all too easy to get carried away with these machines. It’s so great to see this retro boom in all synth design. It’s so easy to get great results with these new analog synths.

Chuck: For many years, you recorded in your own studio. Is that still the case?

Jarkko: Yes, I’ve got my own studio where I do my own music and remix, master and produce for other artists too. Vocals are recorded at each vocalist’s home setup.

Chuck: What is your songwriting process like and how has it evolved over the years?

Jarkko: The biggest revolution for me happened when I moved from hardware sequencers to software sequencers. Fiber-Optic Rhythm was the first album I did with Cubase VST after that I moved to Logic.

I don’t really know how it’s changed over the years, but I mostly start from a chord progression. Usually, it’s chorus chords that come first. Then bass and after that, I create melody parts. It’s great to be in a state where I know when a song is good enough and the mix is ready. It was one of those things that was hard in the past for me. I don’t really push myself with schedules with these releases nowadays. I just release it when it’s done…

Chuck: Personally, I’m very excited that Kimmo Karjalainen is back on vocals. He was a key part of the Neuroactive sound, in my opinion. Are you pleased to be reunited with him?

Jarkko: Yes, it’s great to have him on vocals again in this album. The funny thing is that we never really said, “That’s it with our cooperation.”

Kimmo did his own Huminoida stuff and I was supposed to make my all-instrumental album (which I never did). It’s still very open about what we do in the future. His vocals are the oldest from this album, recorded 4 to 5 years ago.

Chuck: What’s the timing on your new release?

Jarkko: It will come out this year and it will be released by Alfa Matrix. The master is now done so it won’t be too long now…

Chuck: Do you have any plans to tour after the launch of the album?

Jarkko: No plans for a tour, but we will probably do some gigs to support it.

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After 5 years of total radio silence, Iris is back with a new album. Entitled Six, it is stylistically darker than their last outing, Radiant. It bears a greater resemblance to Blacklight in its tone and style. Six contains a well-crafted collection of 11 melodic tracks, each with its own unique hooks and stylistic touches, waiting to be discovered.

Iris’ sound has always evolved slowly, which has contributed to its enduring popularity on the modern synthpop scene. This album adds guitar riffs to the mix, adding emphasis and a new dimension to several tracks.

Reagan Jones’ vocals are in peak form, projecting warmth and emotion that contrast nicely with the sweeps and stabs of Andrew Sega’s perfectly-crafted synth riffs and icy electric guitar riffs.

Third Strike opens the album with a syncopated bass synth and Reagan’s vocals, punctuated by spacy electronic sounds. It’s a great start to a solid album.

Feeder contrasts a meaty, distorted bass synth in the verses with a soaring guitar with just a touch of reverb in the chorus for a bright, engaging sound. It’s one of my favorite tracks on Six.

In Silent, a simple guitar riff provides the foundation for this sparsely-constructed ballad. Once the bass synth kicks in, it plays a more melodic role, playing a simple melody that contrasts with Reagan’s plaintive vocals, which caution, “I won’t be silent anymore.”

Pure White Snow is more of a layered affair, with buzzy synths playing around percussion effects. This track is the closest thing to a danceable, melodic song on Six.

Take the Pain is another favorite, with its driving synth rhythm and percussion and clever, minor-key vocals (“I’m a survivalist/Because I can take the pain.”).

One Kind has a reflective tone that’s well suited to its theme of global unity.

Final Fate reflects on what comes at the end of this life. A sparse arrangement complements Reagan’s thoughtful vocals quite nicely.

Six is available in 3 editions: A regular CD, 12″ limited vinyl, as well as a rare 36-page hardcover artbook with 7-track bonus disc, including unreleased songs and remixes by MESH, Neuroticfish and Solar Fake.

Six is a worthy addition to the Iris canon. Andrew Sega and Reagan Jones still have stories to tell through their artfully constructed music, and the world is a better place for it.

The post Iris shines on melodic, well-crafted “Six” appeared first on Modern Synthpop.

Often, independent musicians face a long and challenging road to get their music heard. Most must hold down other jobs to keep the bills paid and a roof over their heads. Others face significant life challenges that force them to put their music on the back burner for a time, or pursue it in whatever spare time they can muster.

Such is the case with Shanghai-based Quieter Than Spiders, which has been slowly building a name for itself with several deliciously inventive, polished singles during the last six years. Leon, Yifan and Yao are part of the same family. They first appeared on the scene with the deliciously retro Shangai Metro in 2013. That was followed by three other tracks, Hibakusha, Land of Lost Content and No Illusion. But they kept such a low profile that very little was known about them.

QTS is about to make a much bigger noise when it releases its first full-length album on September, which includes updated versions of its existing songs plus a collection of well-crafted new tunes. Earlier this week, the band published a preview of the album on their Facebook page:

The band recently gave me a full preview of Signs of Life, which will be released on September 19 on Anna Logue Records. It contains a whopping 18 tracks. Plus, the band promises the album will include 10 remixes, which weren’t available for preview at the time of this writing.

My verdict? Signs of Life is very good. You’re in for a real treat when this album drops!

Yifan graciously agreed to a chat about what inspires the trio, how they create their music and what’s next for the Quieter Than Spiders.

Chuck Frey: How did the three of you meet?

Yifan: We are actually all related.

Chuck: What made you decide to form a musical group?

Yifan: We wrote songs and played instruments as hobbies, so we had naturally considered the idea of working together on a music project someday. About seven years ago, we finally decided to turn the idea into reality.

Chuck: What is it about electronic music in general and synthpop specifically that attracted the three of you?

Yifan: Most of all, I think we love the unique atmospheres that can be created with electronic sounds. We especially like music from the early synthpop era when people had to be inventive with sounds due to the limitations of their available technology. Certain songs from that time have a haunting and timeless quality – they somehow sounded futuristic and old at the same time.

Chuck: How would you describe the Quieter Than Spiders musical style?

Yifan: I think we have two contrasting styles. There is an up-tempo melodic pop side, but we also have a more reflective and melancholy side which I think perhaps captures more of our own specific style.

Chuck: What synths and other electronic production do you like to use to create your music?

Yifan: We use minimal equipment and don’t even use a designated recording space. We play many of the music parts by hand when we record because we enjoy the character that can come from all the slight imprecisions. We use simple midi keyboards for writing and playing melodies and we use Reason as a track recorder. We do use some software synth sounds but mostly we enjoy creating our own ‘home-made’ sounds either by playing with different sound waves and distortions or by manipulating sounds that we have recorded outside.

Chuck: Does the name Quieter Than Spiders have any special meaning?

Yifan: It is based on an old nickname that one of us had at school. We are all very quiet people and prefer to stay firmly in the background behind the music, so we thought the name would act as a good indicator of this.

Chuck: It sounds like you’ve had a rather challenging history. Your Facebook page said you had to put the group on hiatus for several years due to some medical issues. I’m glad to see that you’re back and close to releasing your album, Signs of Life.

Yifan: Thank you! During the time when we were completing the album, one of us become very ill. It’s not fatal thankfully, but it is incurable. We have each other, so things will be okay. Life is still nice; it is just more challenging and imperfect, that’s all. The album title comes from one of our songs which was inspired by someone we knew.

Chuck: From what I gathered looking at your Facebook page, you composed the songs on this album several years ago, and recently had them remastered by Stefan Bornhorst aka The Silicon Scientist. What did he do to enhance the music?

Yifan: Stefan was the first person to champion our songs. We are big admirers of his own music, so it was such an honor to have him mastering our album. We recorded our songs without much thought for the technical side of things such as sound levels etc. Stefan’s skillful remastering was vital in terms of getting all our songs to sound right and sit well together. We learned so much from him and we are so pleased with how the finished album sounds. Stefan has been so wonderful, along with Marc Schaffer from Anna Logue Records and Steve Lippert who designed the album artwork. They really are the kindest and most helpful people you could ever hope to know.

Chuck: Do you have a timetable for the release of Signs of Life?

Yifan: It is scheduled for release on 19th September 2019. It will be available as 2LP, 2CD, 2LP + 2CD bundle, and digital download.

Chuck: Has your musical style evolved since you originally recorded your first set of songs (which are quite beautiful, BTW!)? What can we expect to hear from your new music?

Yifan: Thank you for the kind compliment! Yes, you can actually hear our style evolving as you travel through the album. The first half is quite different to the second half which is slower, more experimental and has a sadder feel. There is a sample laden track called Fessenden Grove which sort of acts as a bridge between the two sides. The album includes some songs which are a little bit different to anything that people have heard from us so far. Tracks such as ‘The Signs Of Life’ and ‘The Statues’ are very introverted and try to capture very specific thoughts and atmospheres. We don’t know if they will make much sense to anyone else, but they certainly mean something to us.

Chuck: What is the electronic music scene like in Shanghai? Has it been challenging to find the audience for your music?

Yifan: When we first thought about starting out, there didn’t seem to be much of an electronic scene other than DJs playing western dance tracks. The emerging electronic music scene then tended to focus on very specific styles such as electronic lounge music and experimental ambient music. I think that now, after having imported the generic production-house electronic pop sound, many music fans in China are starting to peel back the layers and discover the earlier electronic music which started it all. Occasionally, we hear modern bits of music in Chinese dramas which sound very similar to synthpop, so perhaps that’s a sign of things to come.

Chuck: In what parts of the world are you getting the biggest response from fans?

Yifan: We’ve actually had a nice response from people all over the world which has been a pleasant surprise for us. The biggest response so far has come from Europe which is perhaps not surprising in relation to electronic music. There are people in China and other parts of South East Asia who like our music, but we are not well-known there, partly because we have never promoted ourselves. Many of our close friends and relatives haven’t even heard our music which makes it all the more amazing to us that people in far-away countries and continents have been listening to it!

Chuck: Do you plan to tour and perform live at some point in time?

Yifan: We have no plans to ever tour or play live. We have had some offers but we had to politely turn them down. We know this choice limits our potential and audience but we are okay with that. We didn’t start out with any particular hopes or expectations, so we are grateful and happy enough as it is.

Chuck: What’s next for Quieter Than Spiders? Your Facebook page says you’re writing new songs. When can we expect to hear them?

Yifan: We certainly intend to continue making music but it is probably going to be a little while until we can record new songs. We are still experimenting to find a way of recording and producing that is manageable for us now. We are filled with inspiration and song ideas so we are really looking forward to resuming things when the time is right.

You can listen to Quieter Than Spiders’ existing songs on their SoundCloud page and can follow them on Facebook here.

The post Quieter Than Spiders opens up about their unique, cinematic sound appeared first on Modern Synthpop.

Welcome to Modern Synthpop’s list of the top 10 new albums of 2018. As usual, there was a wealth of excellent music to choose from, produced by excellent existing acts and new ones. I hope you enjoy exploring this amazing music!

Each year, as I assemble this list of the top modern synthpop albums of the year, I realize I have the world’s best side gig: Previewing, reviewing and sharing some of the most incredible music on the planet. 2018 was no exception, with amazing new music from some of the genre’s best known artists, as well as scintillating surprises from new artists.

As I’ve done for the last several years, I’ve ranked the top 10 new albums of 2018, but am also listing honorable mentions. There’s just so much great music available that I have to expand the list

Electro Spectre – A Man-Made Sun

Electro Spectre is one of the most consistent acts on the modern synthpop scene. That’s not to say they are boring in their output. Far from it! The quality of their music is so consistently high that they become a perennial favorite of mine during the last several years – and of the followers of the Modern Synthpop Facebook page, judging from the number of likes their songs get. A Man-Made Sun is a worthy successor to the rest of their growing canon of music. Engaging melodies, quirky touches an exceptional vocals make this album a standout in 2018.

Favorite songs: The Way You Love, Little Wonder, Tic Toc

Listen to A Man-Made Sun on Spotify

CHVRCHES – Love is Dead

Chvrches’ third long player is taking the world by storm, and deservedly so. It’s a fine collection of songs that moves their sound more strongly toward the world of pop – but without losing the soul of their angsty yet hopeful sound. To be honest, I didn’t take to Love is Dead as quickly as Every Open Eye, the Glaswegian trio’s 2015 album. But it revealed its charms to me gradually, and how it stands in my mind as a great progression of their song writing and style. Well done!

Favorite tracks: Graffiti, Miracle, Heaven/Hell

Listen to Love is Dead on Spotify

Johan Baeckström – Utopia

When I learned that Daily Planet was coming back after over 20 years away from the scene, I was very excited. My anticipation was rewarded by Two in 2014 and Play Rewind Repeat in 2017. Both are excellent albums. But I wasn’t prepared for how exceptional Johan‘s solo effort turned out. The song writing and arrangement on Utopia is only slightly derivative of the Daily Planet sound. It actually sounds reminiscent of early Erasure at times. Utopia is a scintillating collection of engaging, thought-provoking and uplifting tunes. This is simply an amazing album!

Favorite tracks: Utopia, Better Stories, I Can Read Your Mind

Listen to Utopia on Spotify

IAMX – Alive in New Light

I have never considered myself to be a big fan of IAMX. I enjoy some of his songs, to be sure, but I am far from being a fan boy of Chris Corner’s work. Imagine my surprise when I listened to Alive in New Light, and was greeted by an entire album of exceptional musicianship. I was blown away! Sparse arrangements, evocative lyrics drenched in emotion (in the best way) and tons of cool synth touches. The variety of songs is also impressive – from brooding ballads like Stardust and Mile Deep Hollow to a dance-floor filler like Body Politics to experimental (Exit). Love it!

Favorite: Stardust, Alive in New Light, Mile Deep Hollow

Listen to Alive in New Light on Spotify

M.I.N.E – Unexpected Truth Within

If you’re in need of a Camouflage fix, look no further than this excellent album from Marcus Meyn (one of the two vocalists from the German synthpop pros), Jochen Schmalbach and Volker Hinkel. Meyn’s smooth vocals give M.I.N.E’s music a familiar topline, while the trio explores a variety of songs well outside the Camouflage canon. From ballads to mid-tempo stompers and songs in a more experimental vein, Unexpected Truth Within in chock full of unexpected delights.

Favorite songs: The One, Things We’ve Done, Dangerous

Listen to Unexpected Truth Within on Spotify

Train to Spain – A Journey

Sweden has been a hotbed of synthpop talent for several decades. The tradition continues with Train to Spain, whose sound gets better and better with each release. A Journey captures the spirit of the 80s, with Jonas Rasmusson’s uplifting, bouncy and layered synth arrangements, strong percussive beats and Helena Wigebom’s lovely, alluring vocals. With this album, the duo’s second, Train to Spain takes us on a awesome journey that makes it one of the best albums of this year.

Favorite tracks: Saviour, Not With Me, Monsters

Listen to A Journey on Spotify

Emika – Falling in Love with Sadness

Falling in Love with Sadness by Ema Jolly (a.k.a. Emika) highlights the Czech-born artist’s continued growth as an artist. Released on World Mental Health Day, it calls attention to depression, an emotion that has colored her life as well as several generations of her family. This theme makes Falling in Love with Sadness her most personal work to date, but it also celebrates her growing maturity as an independent artist. It’s filled with a surprising variety of strong melodies, flawless arrangements and of course, her distinctive, noirish vocals.

Favorite tracks: Wash It All Away, Run, Close

Listen to Falling in Love with Sadness on Spotify

Shelter – Soar

Shelter is the welsh duo of Mark Bebb and Rob Bradley. Soar is their third album, and it’s a winner. Minimal arrangements bring Bebb’s strong vocal style front and center, backed by simple synth lines and minimal percussion. That’s not to say that Soar is boring. Just the opposite. The introspective topics of love and loss are beautifully served by this elegantly spartan approach.

Favorite songs: 1984, Sorry, Karma

Listen to Soar on Spotify

Promenade Cinema – Living Ghosts

Sometimes it takes new synthpop or darkwave act several albums to hit their stride. That’s not the case with Promenade Cinema, a Sheffield UK-based duo who has delivered a stunning first album filled with what they describe as cinedramatic music. Their sound is haunting yet melodramatic, yet never crosses the line over to campiness. It doesn’t hurt that Dorian Cramm’s beautifully arranged synths perfectly complement Emma Barson’s hauntingly piercing vocals Living Ghosts only contains 10 tracks, but they are packed with style and substance that makes me look forward to whatever is next from this promising Sheffield, UK duo.

Favorite songs: Spotlight, Polaroid Stranger, Cassette Conversations

Listen to Living Ghosts on Spotify

The Rain Within – Atomic Eyes

The Rain Within is the cinematic electronic project of Andy Deane and Mike Johnson, who call Charlottesville, VA home – about as far from the noirish streets of LA or Berlin than you can possibly imagine. But on Atomic Eyes, they have captured a filmic sense of horror and beauty in their beautifully crafted songs of love and loss. The songs are at once catchy and ominous, with lovely piano and string touches deepening the gothic mood. A true standout on Atomic Eyes is Deane’s incredible, classicly trained voice. Put on the headphones, turn down the room lights, light a few candles and close your eyes. You’re about to be taken on an incredible journey as you explore The Rain Within.

Favorite tracks: Like the Devil, Atomic Eyes, Violet Glow

Listen to Atomic Eyes on Spotify

Honorable mentions: The top modern synthpop albums of 2018

As usual, the number of excellent modern synthpop albums released during 2018 exceeded the confines of a top 10 ranking. That’s why I have decided to give these outstanding albums an honorable mention. Congratulations!

NINA – Sleepwalking [Spotify]

Tom Bailey – Science Fiction [Spotify]

Black Nail Cabaret / Pseudopop [Spotify]

Scandroid / The Darkness [Spotify]

Melotron / Für Alle [Spotify]

Listen to all of this wonderful music

To make it easier for you to check out a sampling of these wonderful albums, I have created a new Spotify playlist:

The Modern Synthpop Top Albums of 2018 playlist

If you just discovered the this blog or a friend referred you here, I strongly recommend that you follow the Modern Synthpop Facebook page. I frequently update it with news about the amazingly talented artists of this genre, highlight cool albums and tracks I’m listening to and share fun, sharable modern synthpop memes.

Best of all, every Thursday, I publish 12 hours worth of tunes, every 30 minutes (on the :05 and :35 of each hour). This informal “show” format lets you pick and choose which songs you want to check out. Don’t miss it!

Follow the Modern Synthpop Facebook page now!

The post Modern Synthpop’s top 10 new albums of 2018 appeared first on Modern Synthpop.

This problem started for me with DE/VISION’s 2007 album, Noob, which had a few very songs that captured my imagination. That was followed by Popgefahr, which was amazing. Bristling with experimental touches and a variety of compositions, it was an astounding album. That was followed in 2012 by Rockets & Swords, which again left me feeling meh, except for a few songs. 13, released two years ago, was another outstanding album, full of some very cool synth, rhythmic and lyrical touches that had me going “Wow!!”

That brings me to Citybeats, which for me sits squarely in the “meh” category. The album opener, In the Still of the Night, is an excellent earworm that has played in my head for hours on end. They Won’t Silence Us, the first single from Citybeats, is also very good. But I just haven’t been able to connect emotionally with the rest of the songs.

Past DE/VISION albums have impressed me with their crisp, bright production. Citybeats, however, doesn’t have this same sound. I’m sure that’s due to DE/VISION experimenting by hiring an American duo, Ken Porter (intuition) and Stan Cotey, to put the finishing touches on their songs. I don’t think they did Steffen Keth and Thomas Adam any favors…

I guess you could say that I like the experimental touches in some of DE/VISION’s music, and I miss them when they’re absent. Think of the bleepy coda at the end of Who Am I and the aggressive, driving arrangement of Gasoline (13), the epic melodies and quirky synth touches in Until the End of Time and Time to be Alive (Popgefahr) and the distinctive siren in the middle of The Beauty of Decay (Rockets & Swords). There’s nothing comparable on Citybeats. The boys seem to have played it safe this time around.

Perhaps your experience with Citybeats will be better. Mine, unfortunately, was disappointing.

The post DE/VISION’s Citybeats: I was hoping for so much more appeared first on Modern Synthpop.

Today, it’s 30 years since Depeche Mode played the Rose Bowl in Pasadena. This is the concert that became the subject of an incredibly popular double live album and a concert film, both called 101.

Thanks to the Alnost Predictable – Almost blog for bringing this landmark anniversary to my attention (check out their epic list of 101 pieces of trivia surrounding this musical event!).

101 holds a special place in my heart because it was my first real exposure to Depeche Mode. A coworker had recorded an audio cassette tape he recorded for me had several DM songs on it – The Things You Said, Strangelove and Never Let Me Down Again- which had me VERY intrigued.

But it was during a drive to a business meeting in Chicago where I heard the song Sacred live on the local Milwaukee college radio station. I was absolutely stunned! Dave’s sensual ode to the irresistible, almost spiritual allure of female beauty, the stabbing synths and the incredible vocal harmonies put me in heaven! That convinced me I just had to have 101!

I was so hard-core over the music from this remarkable live album that I rented the video tape of the concert film and used a VHS camcorder with my home VHS deck to copy the live music segments over to a separate tape, so I could enjoy them over and over – without the angsty teenage cross-country pilgrimage. Keep in mind, this was years before YouTube. So there was no easy way to watch live concert videos.

I nearly wore out my set of 101 audio cassettes that year. That was followed in March 1990 by Violator, DM’s most amazing album – EVER – in my opinion. It was released exactly one year after 101. My DM fever got even worse, and hasn’t improved in the years since. The bottom line is that 101 set me on a synthpop journey that I’m still pursuing today, with this blog.

Happy 30th anniversary to DM’s historic Rose Bowl performance. You did what everyone was certain couldn’t be done – a new wave group selling out this iconic LA-area football stadium. But you did, thanks to an incredible cult following of fans, who came from far and wide to be part of this unforgettable experience.

Today, three decades later, DM is one of the top concert draws in the world – no surprise to this synthpop fan and music critic!

The post Good evening, Pasadena: Remembering DM’s iconic ‘101’ appeared first on Modern Synthpop.

Jonas Andresen and Fredrik Bjerkland are Frecvens, an Oslo-based duo that has crafted one of the freshest sounds in the world of modern synthpop.

Their atmospheric style is both highly engaging and quite unique. It combines Fredrik’s shimmering, sometimes quirky synth lines with Jonas’ plaintive vocals to create a rich and tasty aural stew that is a delight to listen to.

I recently had an opportunity to talk to the guys to learn more about their musical roots and influences, and what’s next for this rising star.

Chuck Frey: Your brief biography says that Frecvens was formed in 2009. Please give me a background on each of your lives prior to the formation of the group.

Fredrik: We have jobs like everyone else. I work for a security company. I have two children and am married. Jonas is selling for a store in Oslo. he has two children but is divorced. And in our free time we work with music.

Chuck: Did either of you have a musical background prior to forming Frecvens?

Fredrik: Neither of us has any kind of music background. But this has been a wish since we were kids. Making music is something special we have dreamed of.

Chuck: How and where did the two of you meet?

Fredrik: We are twin brothers.

Chuck: What made you realize that you ought to collaborate and form Frecvens?

Fredrik: We have always enjoyed music. And a big wish to convey our music. When we were young we stood on stage and pretended we were music stars. So the idea began in 2009 when we started the group.

Chuck: How did you come up with the name of the group? Does the word Frecvens have any special meaning?

Fredrik: It was a pure idea we got. The idea was to use the Norwegian word for frequency, frekvens. We replaced K with C to create Frecvens.

Chuck: What are your musical influences?

Jonas: Our biggest inspiration is Depeche Mode, Mesh and a Swedish group, Kent.

Chuck: What is the division of labor? Who is responsible for doing what in terms of creating, recording and producing songs?

Jonas: When we sit in the studio, some days we will not get anything. But when you do not plan and focus on a song. Then everything comes. We make all the music ourselves. It only comes by itself. I am the singer in the group. The background vocal is Fredrik.

Chuck: You’ve done something remarkable: you have succeeded in fashioning your own sound, not something that is derivative of other leading synthpop acts of yesteryear or today. How would you describe the musical style of Frecvens?

Jonas: The music is characterized by Depeche Mode. We use a lot of different sounds like soft and analogue sounds. The music should be perceived as a dream. The chorus is the most important element in our songs. The songs must be remembered.

Chuck: What synths and other electronic production do you like to use create your music?

Jonas: We use Reason Proppellerhead program that controls all instruments on the computer. We use a midi synthesizer and dynamic microphone.

Chuck: Did you have a theme in mind when you wrote your first album, A New Day?

Fredrik: No. We simply had a dream to make a good album. I believe we did this.

Chuck: Also in 2017, you also produced Someone to Talk With. Do you consider that to be an album or an EP?

Fredrik: He he. The idea was to make an EP album with about 4 songs. But we ended up with more. We have produced many songs that may not be published.

Chuck: In what countries or regions are you getting the biggest response from fans?

Jonas: We only focus on streaming, such as Spotify, Tidal, iTunes, etc. We have fans in England, Brazil, Poland, Russia and the United States.

Chuck: Where can fans see you perform?

Fredrik: We have no plans for Europe. It is not easy and get into this market. We have sent information to various festivals but they have not responded. We are in dialogue with a synth festival in Sweden for 2018 but that’s not confirmed.

Chuck: What’s next musically for Frecvens?

Fredrik: We are going to release a new album in 2018. It will be the best album we’ve made. Who knows? Maybe we will appear on the festival scene in the future.

Chuck: Thanks for participating in this interview. Best of luck to you with Frecvens!

The post Frecvens: An inside look at this remarkable synthpop duo appeared first on Modern Synthpop.

Welcome to my annual list of the best Modern Synthpop Releases of 2017. Like last year’s list, this one combines some outstanding music by “classic” artists like OMD, Gary Numan and T.O.Y. with many new or fairly young modern acts. That’s what makes synthpop so incredibly vibrant and endlessly fascinating to follow. Here, without further ado, are my picks for the Top 10 Modern Synthpop releases of 2017!

Gary Numan – Savage (Songs From a Broken World)

This astounding album is set in a post-apocalyptic future, where small bands of people struggle for survival. Numan’s singing style is raw, emotional and incredibly moving, delivered in short bursts between the edgy synths and a variety of industrial sound effects. I got a sense of the singer as a protagonist who must fight to survive. He is weary as he makes his way through what’s left of the world, but hr still clings to shreds of hope. The arrangement of each song is sparse and striking, with Middle Eastern accents that give Savage a distinct sense of place. As you listen to these beautifully-crafted tracks, you can almost picture a lone, tattered figure stumbling across the desert sands. My favorite track is And It All Began with You, which describes an undying love that extends beyond this world into the next (“And when you stand before God/I’ll be with you.”). Savage is a spectacular artistic achievement for Numan, and a clear choice for the number one new Modern Synthpop Release of 2017!

OMD – The Punishment of Luxury

OMD’s 13th release follows in the mold of 2013’s amazing English Electric, blending some satisfying, well-crafted ballads with a handful of quirky tracks (like Robot Man) that leave you scratching your head at first, but which eventually start to grow on you. In other words, typical OMD! The subject matter is a different story, however. The Punishment of Luxury is a commentary on our contemporary world, which seems to be coming apart at the seams. Even the album’s title track is a sharp poke in the eye at the conspicuous consumption of the rich: “Lazy girl, dirty boy/Surrounded by your broken toys/And you don’t know how/To just make the pain go away.” Stand-out tracks include Isotype, Precision & Decay and La Mitrailleuse.

The Birthday Massacre – Under Your Spell

Some synth purists may scoff at the inclusion of TBM in a top 10 synthpop release list, but the fact is their music has always had a fairly strong synth/rock throughline that is even stronger on Under Your Spell. The songwriting on this enjoyable album is as strong as ever, among their best work – even though they seem to be stepping away from the spooky, rainy atmospherics that have characterized most of their recent albums. Chibi’s strong yet enigmatic vocals are in peak form, backed by crunchy guitar riffs and soaring synths. Favorite tracks include One, Under Your Spell, Counterpane and Hex. If you haven’t checked out The Birthday Massacre, I encourage you to ignore their melodramatic name and give this album a good listen. I think you’ll be quite impressed!

Daily Planet – Play Rewind Repeat

Daily Planet is an amazing story. Over 20 years ago, Johan Baeckström and Jarmo Ollila put out several beautifully crafted albums that were standouts in the independent modern synthpop scene. Baeckström’s gentle, nimble vocals are like nothing else – gorgeously nuanced, a real pleasure to listen to. Then they went into a two-decade hiatus, leaving their fans waiting for more but walking away unrequited. To everyone’s surprise, the much older and wiser Swedish duo got back together and produced the remarkable album, Two, in 2014. It was as if time stopped, and they never left us. Play Rewind Repeat is a worthy follow-up, and builds upon their signature sound while not formulaically repeating it. Grains of Sand is one of many upbeat, scintillating tracks that will delight your senses. Over Water takes a stunning minor-key turn that is also quite memorable. I look forward to much more amazing synthpop from this dynamic duo!

Goldfrapp – Silver Eye

Goldfrapp is a group that I hadn’t paid much attention to until 2017. Perhaps that’s because Allison Goldfrapp and Will Gregory have taken an enigmatic, David Bowie-like approach to their musical career, veering from dance pop to folktronica, Italo-disco and glam pop. Silver Eye is very much in the synthpop/dance pop camp, with buzzy electronics, quirky beats and Allison’s sensual vocals blending together into a delightful aural stew. Favorites on this album, Goldfrapp’s first new release in four years, include Anymore, Systemagic, Faux Suede Drifter (a surprisingly sparse arrangement compared to Goldfrapp’s usual layered compositions) and Oceans.

Frecvens – A New Day

Frecvens is an intriguing new band that hails from Oslo, Norway. Their debut album, A New Day, is one of the stand-out surprises of 2017. Jonas Andresen and Fredrik Bjerkland have crafted a shimmering melodic and vocal style that is truly unique – and quite enjoyable. Stand-out tracks include: Merci, Sweetest Revenge, Everything Happen and Missing You. The latter has a strong Violator-era DM vibe to it – very cool! If that wasn’t enough, later in 2017, Frecvens released a 8-track EP entitled Someone To Talk To. It follows a similar musical style – still very much recognizable as uniquely Frecvens – but the compositions on this 8-track release are a bit more experimental. Clearly, this duo doesn’t want to get into a rut musically.

X Marks the Pedwalk – Secrets

Sevren Ni-Arb, the alias of André Schmechta, formed X Marks the Pedwalk in 1989, with a focus on EBM and industrial sounds. After a number of years of success, he went on a 14-year hiatus, and only recently re-activated it. New elements on Secrets, his ninth release, include a stronger focus on synthpop and a bigger singing role for his wife, Estafania. He has also released it on his own label, Meshworks. Secrets is a terrific albeit short album (only 9 songs) that bristles with energy, complex arrangements and lots of cool hooks – perfect for the dance floor. Sevren Ni-Arb is clearly a seasoned and enthusiastic songwriter, considering the high quality of tracks like Masterpiece, Ghost and Breathe. Secrets is definitely worth a listen!

Priest – New Flesh

Imagine if Black Celebration-era DM and And One had a love child, with a bit of Erasure thrown in for good measure. That unique stew will help you too start to understand Priest’s eclectic but enjoyable style on its debut long-player, New Flesh. Every song on this album is solid – well composed, with quirky touches and a surprising amount of variety in only 10 songs. There’s no filler here! Favorite tracks include: History in Black, Populist, Nightmare Hotel and Reloader.

M.I.N.E – One

I’ve always been a huge fan of Camouflage, especially their last album, Grayscale. What an absolutely brilliant set of songs! Unfortunately, Camouflage produces new albums very infrequently, so it takes a long time to get your fix between releases. Fortunately, one of the members of Camouflage felt the same way, and decided to do something about it. Marcus Mayne formed a group called M.I.N.E to continue producing music in a similar style. He released his first album under this moniker earlier this year, a four track EP called One. For fans of Camouflage, it’s the perfect tonic: a familiar voice, with four tantalizing songs that hint at more to come. Things We’ve Done is a mid-tempo number in the Camouflage model. White Trash is a quirky ballad with unique sound samples scattered about. Here’s a surprise: When I looked for this EP online, it disappeared from Spotify and iTunes. So I looked at visitor posts to the M.I.N.E Facebook page, figuring other people must be wondering what happened to their music. The answer is simple: The band is in the midst of a label change, PLUS they’ll be releasing a new full-length album in January!

T.O.Y. – Pain is Love

It seems hard to believe, but this is the first new music from T.O.Y. In 14 years. The German synthpop group last released an album, White Lights , in 2003 while signed to the A Different Drum. In addition, the release of Pain is Love was delayed several times due to personnel changes. This new album was well worth the wait. This 14-track LP shows an accomplished synthpop artist at his best. T.O.Y.’s mastery of melodic synthpop shines from every pore of Pain is Love. The variety of songs is impressive; despite its lengthy gestation period, the songs feel just right – not overly fussed over. Each song contains its own unique hooks and fun little synth elements. Hopefully, this is a return to form for this well-loved group, which is currently touring Europe and Russia.

Honorable mentions

There has been so much excellent synthpop music published in 2017 that I decided to name another 7 releases to an Honorable Mentions list. I encourage you to check out this cornucopia of wonderful electronic tunes!

• Charlotte Someone – Magnetar
• Tiny Magnetic Pets – Deluxe/Debris
• Me the Tiger – What is Beautiful Never Dies
• Elements – Neuropa
• Null+Void – Cryosleep
• The Frixion – The Frixion
• Battery Operated Orchestra – Radiation

Now it’s your turn

What modern synthpop releases (albums OR EPs; no singles, please) amazed and delighted you during 2017? Please share your thoughts and recommendations in the comments below. I look forward to hearing from you!

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